ANTONIA PAPATZANAKI Without Title #92515 2002 - x +
PaAn2002with

CN: PaAn2002with

MT: mixed media: brass, perspex and fluorescent lamps (92x76x25 / BASE:76x76x11)

TX: signed by incision at lower center of right side of base in Greek <A. PAPATZANAKI / 2002>

CT: Titanium Art Gallery, Athens - 2009

LC: ACG Art Store

CM: Antonia Papatzanaki's Without Title #92515 is one of the first pieces in the series of light relief wall artworks that she created in the period 2000-2010. The artworks of Papatzanaki emit light that is shaped as it passes through stable transparent materials. Each work’s apperance varies depending on the r el ationship of natural environment’s light with the work’s artificial lighting and the position of the viewer in space. Based on her familiar minimalist form Papatzanaki creates three-dimensional works in which she deals with the issue of light linking them at the same time with sculpture and architecture. . Papatzanaki utilised in her works Max Planck's Quantum Theory of 1900, which states that light is an electromagnetic wave emitted and absorbed by the atoms of matter through photons. Aiming to alert the viewer to other things through visual experience, Papatzanaki uses light to refer to the transgression of limits, which liberates the human ability of perception. In the present work a source of light is absorbed by perspex waves that separate a square bronze plate and extend beyond the work's frame. The square represents the personal limit of man and hence the limits set by society. The work's luminous element symbolizes the spiritual dimension of human thought, which trangresses the typical boundaries of commonly acceptable action, in order to travel through space and time. Brass is the material par excellence for tools, utensils and sculpture, already from the beginning of the 3rd millennium before Christ. The light is a source of life and symbolizes the spirit. The contemporary wave of photons manage to penetrate the primordial metal and to illuminate its dark surface. Papatzanaki rise to the the challenge of her task - to create works, by using industrial materials that lack subjective menaing, and applying modern mechanical means that give a negligible role to the artist's hand. [Megakles Rogakos 01/2009]

"I work with light, a key element of our visual perception. My works are self-luminous, as the light comes from within. A continuous dialogue develops between the artificial light of the work and the natural light of the environment, giving rise to the viewer's experience of increased awareness of the properties of light and its relationship with space and time. § I believe that any material contains properties of specific emotional responses and mental images. The behavior of light as mass and energy corresponds to the dual human nature as body and spirit. That correspondence opens a subconscious communication channel between viewer and work. The presence of light is accompanied by an optimistic feeling for most people. § Directly connected to life and metaphorically to truth, the light is an overcharged symbol. In Physics, the speed of light is the measure of cosmic distance - real and symbolic light is a vehicle of memory. The brighter light creates the darkest shadows and this equation connects the light to the process of research, thought, and evaluation. § It is challenging for a sculptor to shape such an untouched material as light, because it makes him explore the limits of his art. Moreover, its strong symbolic significance raises the question of what deserves to be explored in the supersaturation of information in a consumer social environment. For me, this research concerns the nature of the structure of reality. § The sense of the artist, setting the format of the work's structure, is concentrated in the perceived object. I found myself between physical and geometrical structures, between my physical senses and my tendency to use abstract forms, concepts and ideas often inspired by Philosophy and Physics. I like to keep this tension in my work. § My works are arranged in geometrical parallelepipeds. The light is formatted as it passes through transparent or translucent elements, which penetrate metal surfaces. Linear signals of light conjure a luminous organic form of repetition, often, of only one element. I work with perspex sheets, whose sections refract the light as it passes through the material body. § Morphologically the work has two sides, a linear / geometrical and a physical / organic, depending on the viewing angle. Only the concentration and physical movement of the viewer can bring the structure of work in unity, revealing its form. § My work is mapping the relationships between light and darkness, matter and energy, mass and gravity, internal and external, geometrical and organic, fragmented and unified, hand-made and industrial, and eventually viewer and art object. The work's structure and its references form an entity that expects the viewer to experience and to discover." [Antonia Papatzanaki in 2008 translated by Megakles Rogakos]

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